Tag: Mexico City

New Audio: Exploded View Return with a Fatalistic Ode to the Environment

Initially spending the early part of her professional career as a political journalist, who split her time between Berlin and Bristol, UK, Annika Henderson, best known as Anika can trace the origins of her musical career to a particular moment —  when she was introduced to Portishead’s Geoff Barrow. As the story goes, at the time, Barrow was looking for a vocalist, who would be willing to work with his band Beak> for what he envisioned as a side project. Reportedly, when Barrow and Henderson first met, they immediately bonded over a mutual love of punk, dub and 60s girls group. And within a week of their meeting, Barrow, Henderson and the members of Beak> went into the studio to record the material which would eventually comprise Henderson’s 2010 self-titled full-length debut.

2013 saw the release of Henderson’s self-titled EP, a collection of covers and remixes that included one of my favorite songs off the set, Henderson’s cover of Chromatics’ “In the City,” which paired Henderson’s icy delivery with a Portishead and The Velvet Underground and Nico-inspired production. Last year, Geoff Barrow’s Invada Records, released an icily foreboding, dub-inspired cover of Nena’s “99 Red Balloons” by the mysterious Invada All Stars featuring Anika on vocals as part of the  Stop Trident National anti-nukes demonstration in London.

Since then, Henderson has been busy with her most current musical project, Exploded View is collaborative side project fronted by the renowned vocalist and featuring a group of Mexico City-based producers including Martin Thulin, known for his work with JOVM mainstays Crocodiles; Hugo Quezada and Amon Melgarejo — and the project’s sound finds Henderson and company moving away from the krautrock-inspired sound of her solo work, and towards a seemingly fuzzily atmospheric and baroque-like psych pop.  After completing the material that would comprise the band’s self-titled debut album, the members of the band decided to return to the studio and record some more, with the result being the Summer Came Early EP. Comprised of some outtakes from the self-titled album, along with some new material, their follow-up EP reportedly finds the band crafting sons that carefully walk a tightrope between clarity and focus and a messy, free-flowing experimentalism that comes from improvisation.

Interestingly, EP title track “Summer Came Early” may arguably be one of the most delicate and bitterly wistful songs that the band has released to date — while thematically, the song is written as a post-permanent climate change ode to how the environment once was, with the caveat that no one questioned anything and no one did anything besides lazily sat down and gave up. And when the proverbial shit hit the fan, the only action that was left  was to point fingers at someone else. It’s a bit reminiscent of the famous T.S. Eliot poem isn’t it?

Directed by William Markarian-Martin is an eerily psychedelic vision of the hellish and permanent damage that humanity has done to the environment, and while wistful it possesses an eerie fatalism and acceptance.

 

New Video: JOVM Mainstay El Dusty Teams Up with Jah Fabio and Toy Selectah on a Reggae-Tinged Take on His Imitable Sound

So if you had been frequenting this between 2016 and early this year, you’ve likely been made familiar with the Corpus Christi, TX-based producer, DJ and electronic music artist, Horacio Olivera, best known as El Dusty. And over that 13-15 month or so period, Olivera not only quickly became a JOVM mainstay but he also further cemented his reputation as a pioneer of a revolutionary, new sub-genre that he’s dubbed “nu-cumbia,” a sub-genre, which meshes contemporary electronic music production, hip-hop, drum ‘n’ bass and house music with enormous tweeter and woofer rocking beats and chopped up samples of classic and beloved cumbia songs creating a swaggering, sleek, hyper-modern, club-banging take on Latin music that has resulted in a Latin Grammy nod.
Olivera like most contemporary, hip-hop-inspired producers has spent countless hours digging in the crates — both real and virtual — for cumbia tracks released by Colombian record label Discos Fuentes during the 60s and 70s, including one of the best known and best-loved cumbia records to date, Andres Landeros’ “Canto Negro,” which serves as the main sample and inspiration for his latest single “Kanto Negro,” a collaboration with Mexican-based Reggae/Roots singer Jah Fabio contributing rhymes and Toy Selectah contributing some additional arrangements. And as Olivera explains ““This sample has been done countless times but I just felt that adding a vocalist would really take it over the top” “ liked the title of the original song so I wanted to keep it the same. I dig the dark vibes!” In fact, while retaining portions of the original’s instrumentation and vocal for the book, El Dusty and Toy Selectah add thumping and staccato like drum programming and an enormous synth drop and although the single will further cement his reputation for crafting club-banging cumbia-influenced EDM — or perhaps EDM influenced cumbia? — the single finds El Dusty adding a global element to his crowd pleasing sound and approach.

Produced by the Much Fresco production crew, the recently released music video for “Kanto Negro” was filmed while El Dusty was at this year’s Electric Daisy Carnival Mexico and features the renowned Texan producer performing with Jah Fabio at Cultura Roots with some footage of daily life in Mexico City.

Live Footage: Iggy Pop and Metallica “T.V. Eye” in Mexico City

More than enough ink both real and virtual has been spilled on Iggy Pop throughout his ridiculously influential and lengthy musical career, and with the legend turning 70 next month, we should all enjoy him for as long as he’s here to kick ass. Additionally more than enough ink both real and virtual has been spilled on Metallica; so instead of discussing backstory and biography, I’ll say this: Metallica is currently on tour to support their latest album, 2016’s Hardwired . . . To Self-Destruct, and while on a several night run in Mexico City with Iggy Pop as an opener, the members of Metallica invited the legend on stage to play The Stooges’ “T.V. Eye.”

Live Footage: See Roger Waters Savage Donald Trump During a Live Performance of “Pigs (Three Different Ones)”

Interestingly enough, Roger Waters posted the live official video of a performance of “Pigs (Three Different Ones),” recorded when Donald Trump was the Republican presidential nominee and while Waters was in Mexico City for a series of gigs playing his classic and beloved material — and it’s an incendiary performance with artist-made images of Trump toting a machine gun outside the White House, giving the Nazi salute and surrounding himself with Ku Klux Klan members. And the performance ended with Waters co-opting the phrase that went viral among Mexicans and other Latinos across the world “Trump Eres Un Pendejo,” which translates to “Trump, you’re an asshole.” It’s a witheringly savage takedown of someone, who needs to be taken down as much as humanly possible and as often as possible.

New Video: The Swooning and Psychedelic Visuals for Boys Noize’s Equally Swooning and Urgent Single “2 Live”

Mayday’s latest single “2 Live” is an ecstatic and swooning, club banger which features layers of cascading and twinkling synths, tweeter and woofer rocker bass drops, propulsive and insistent beats are paired with a swooning and anthemic hook to create what may arguably be one of the Berlin-based producer’s most euphoric and lovelorn songs to date. Interestingly, the recently released music video, which continues Ridha’s ongoing collaborations with LIL INTERNET and SUSBOY follows a young couple as they explore the outskirts of Mexico City in the near future — and while the couple is desperately in love, the video explores what can happen when song love and virtual reality are combined. Ultimately, the result is a video that’s psychedelic and yet urgent.